Ocean Of Sound

"Ocean of Sound" begins in 1889 at the Paris Exposition when Debussy first heard Javanese music performed. A culture absorbed in perfume, light and ambient sound developed in response to the intangibility of 20th century communications. David Toop traces the evolution of this culture, through Erik Satie to the Velvet Undergound; Miles Davis to Jimi Hendrix. David Toop, who lives in London, is a writer, musician and recording artist. His other books are "Rap Attack 3 "and "Exotica,"

Sound Images of the Ocean is the first comprehensive overview of acoustic imaging applications in the various fields of marine research, utilization, surveillance, and protection. The book employs 400 sound images of the sea floor and of processes in the sea volume, contributed by more than 120 marine experts from 22 nations.

This 1979 book attempts to connect the known structure of the ocean volume with experimental results in long-range sound transmission through the theory of wave propagation and the path-integral approach. The book is written at the post-graduate level, but has been carefully organised to give experimenters a grasp of important results without undue mathematics.

A Science Friday Best Science Book of the Year A Kirkus Reviews Best Nonfiction Book of the Year A Library Journal Best Science and Technology Book of the Year A Tampa Bay Times Best Book of the Year A stunning history of seashells and the animals that make them that "will have you marveling at nature…Barnett’s account remarkably spirals out, appropriately, to become a much larger story about the sea, about global history and about environmental crises and preservation" (John Williams, New York Times Book Review). Seashells have been the most coveted and collected of nature’s creations since the dawn of humanity. They were money before coins, jewelry before gems, art before canvas. In The Sound of the Sea, acclaimed environmental author Cynthia Barnett blends cultural history and science to trace our long love affair with seashells and the hidden lives of the mollusks that make them. Spiraling out from the great cities of shell that once rose in North America to the warming waters of the Maldives and the slave castles of Ghana, Barnett has created an unforgettable history of our world through an examination of the unassuming seashell. She begins with their childhood wonder, unwinds surprising histories like the origin of Shell Oil as a family business importing exotic shells, and charts what shells and the soft animals that build them are telling scientists about our warming, acidifying seas. From the eerie calls of early shell trumpets to the evolutionary miracle of spines and spires and the modern science of carbon capture inspired by shell, Barnett circles to her central point of listening to nature’s wisdom—and acting on what seashells have to say about taking care of each other and our world.

This study of the subtlety, complexity, and variety of modes of hearing maps out a “sonorous archipelago”—a heterogeneous set of shifting sonic territories shaped by the vicissitudes of desire and discourse. Profoundly intimate yet immediately giving onto distant spaces, both an “organ of fear” and an echo chamber of anticipated pleasures, an uncontrollable flow subject to unconscious selection and augmentation, the subtlety, complexity, and variety of modes of hearing has meant that sound has rarely received the same philosophical attention as the visual. In The Order of Sounds, François J. Bonnet makes a compelling case for the irreducible heterogeneity of “sound,” navigating between the physical models constructed by psychophysics and refined through recording technologies, and the synthetic production of what is heard. From primitive vigilance and sonic mythologies to digital sampling and sound installations, he examines the ways in which we make sound speak to us, in an analysis of listening as a plurivocal phenomenon drawing on Foucault, Deleuze and Guattari, Barthes, Nancy, Adorno, and de Certeau, and experimental pioneers such as Tesla, Bell, and Raudive. Stringent critiques of the “soundscape” and “reduced listening” demonstrate that univocal ontologies of sound are always partial and politicized; for listening is always a selective fetishism, a hallucination of sound filtered by desire and convention, territorialized by discourse and its authorities. Bonnet proposes neither a disciplined listening that targets sound “itself,” nor an “ocean of sound” in which we might lose ourselves, but instead maps out a sonorous archipelago—a heterogeneous set of shifting sonic territories shaped and aggregated by the vicissitudes of desire and discourse.

Simple text featuring the long "o" sound describes Olivia's walk by the ocean.

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